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Wala film review by UK film critic William Hemingway. Starring Gezelle Jean Dacillo, Stefanie Cartoneros, Claire Contesa directed by Neo Bryce. HOME | FILMS | REVIEWS Wala Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Nov 13, 2023 Directed by: Neo Bryce Written by: Neo Bryce Starring: Gezelle Jean Dacillo, Stefanie Cartoneros, Claire Contesa Short film, Wala or to give it its English language title, Nothing is a Philippines based production from film-maker, Neo Bryce. In this, the latest in an ever increasing line of projects from the writer and director, Bryce has decided to strip his story back to the very basics, leaning heavily on the ennui suffered by the modern generation to create a film which offers a whole lot of Nothing to the viewer. June (Dacillo) is one such sufferer of the modern generation, who from her life and viewpoint in the Philippines, shows that it’s not just us in the West who have a monopoly on opting out and feeling sorry for ourselves as the cost of living crisis bites hard, the job market sees the bottom fall out of it, and the online dating scene preys on our insecurities to seemingly prove that we are so helplessly inadequate that we can never be loved. After a short introduction where June appears to at least have a few friends around her to have fun with, she nevertheless doesn’t seem to engage fully and in fact she may only have been invited along as a courtesy anyway. Flatmate Megan (Cartoneros) doesn’t help any, offering her life as a counterpoint to June’s as she jets off on holiday to have fun in the sun and chase down any tail she can get her hands on, preferably foreign in nature if she can find it. Left home alone, June only has herself for company as she lazily trawls through picture after picture of potential dates who she has already decided are out of her league and wastes her time on interview after interview with no actual job offer ever on the cards. Bryce takes the opportunity during these scenes to fully allow his theme of nothingness to meander on through to the audience. Despite the idea that June supposedly keeps trying, in front of the camera she barely does anything at all. There is extended shot after extended shot of nothing happening, from an almost exclusively static camera, where June is in the kitchen or the hallway, lying on the bed or on the floor, almost always attached to a screen. One such scene lasts for a full three minutes, accounting for nearly ten percent of the entire runtime, but is in itself only one in a succession of very similar scenes which constitute the film. There are a couple of diversions along the way in the form of dream sequences where June places herself within the plot of an exciting lifestyle, but rather than enhancing the overall feel of Wala , they instead serve to remind us just how boring the actual film we’re watching really is. While Bryce certainly has an attention to his craft and has gone all out to create a feeling of non-movement throughout the film to express his idea, what the bottom line comes down to is, if you’re going to create your film around the theme of Nothing and base all of your scenes around nothing happening then you shouldn’t be surprised when your film turns out to be about nothing and ultimately means nothing. About the Film Critic William Hemingway Short Film, World Cinema < All Reviews Next Film Review >

Into the Spotlight film review by UK film critic Jason Knight. Starring Christi Davenport, Cindy Johnston, Jason Carter, Sally Smith, Kinsey Boozer directed by Thaddeus D. Matula. HOME | FILMS | REVIEWS Into the Spotlight Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Aug 31, 2023 Directed by: Thaddeus D. Matula Written by: N/A Starring: Christi Davenport, Cindy Johnston, Jason Carter, Sally Smith, Kinsey Boozer A group of people with disabilities take part in an annual event where they get to perform in a musical production. This event is the Spotlight Musical Theater, which takes place once a year and is part of the Belong Disability Program at Highland Park United Methodist Church in Dallas, Texas and its purpose is for twenty-seven participants with disabilities to have the opportunity to develop, rehearse and mend an original musical. The cast get to work with an artistic team and volunteers in order to make this objective a reality. Into the Spotlight is a documentary that explores the people involved and their hard work that led to the 11th Spotlight event during the 2021-2022 season. It begins by introducing participants as they receive a phone call from the organisers informing them that they have been chosen and then moves on to the theater, where they meet with director Lisa Schmidt and co-director Mark Guerra and discuss their upcoming project. Together, they make plans, support each other and drive to make a show that serves as the climax of the feature. Along the way, they will mourn the passing of one of the organisers, celebrate Thanksgiving and Christmas and find out more about themselves. The selected performers (and the ones who work on the sets, etc.) are the stars of the Spotlight show and of the documentary. They include Christi Davenport, Cindy Johnston, Jason Carter, Sally Smith and Andrea Parton. Between them, they have a variety of conditions such as down syndrome or autism and one of them is transgender. The film follows them as they actively pursue their dream of being part of a stage musical and also looks into their private lives and personal struggles, including Davenport's, who is mourning the loss of her husband, Daniel Wade's, who has faced discrimination and Parton's, who goes through life as a transgender. All of them have differences, however, they have many things in common, including having a deep appreciation of life and a desire to challenge themselves and achieve. There is no voice-over, which can be unusual for a documentary, instead the voices belong to the participants, who are interviewed and enthusiastically talk about themselves, why they want to be part of Spotlight and their struggles with disability and other issues. Composer Sam Marshall makes a very positive contribution with the beautiful score. This informative and heart-warming documentary does a great job in presenting to the world a fantastic event that provides individuals with disabilities the chance to be creative and make their dreams come true. And of course, it reveals that people can overcome their disabilities and prove that they are capable of wonderful things. For more details about Into the Spotlight, visit the website - https://www.intothespotlightdoc.com/ About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Final Gasp film review by UK film critic Jason Knight. Starring Catarina Carvalho directed by David E. Teixeira. HOME | FILMS | REVIEWS Final Gasp Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 15, 2023 Directed by: David E. Teixeira Written by: David E. Teixeira Starring: Catarina Carvalho Sinister things are happening to a woman who is by herself in her apartment. Lindsay (Carvalho), a young woman, is alone inside her apartment, playing the piano. Suddenly, she begins to hear sounds of knocking that do not appear to have a source. She snoops around and eventually, she discovers a pink box that was left outside her front door. She brings it indoors and finds out that it is not addressed to anyone and it contains a sinister-looking white mask and a black cloak and from then on, things go from bad to worse. Filmed in Lisbon, Portugal, this spooky short horror film does a great job when it comes to building suspense and sending chills down the spine. The whole narrative takes place inside the apartment and initially, it relies on mysterious noises in order to indicate that something is up, such as knocking here and there, whistling and the ringing of a doorbell, apparently by no one. The atmosphere becomes much more serious following the arrival of the mysterious box, with darkness taking over, the sound of someone breathing heavily and more. Lindsay is the only character in the film, and that creates a feeling of isolation, which works well here, because it gives the impression that she is somehow trapped in the apartment, unable to escape the evil that is approaching. She spends a great deal of time investigating, trying to figure out where the noises are coming from and what is going on with the box and Carvalho's performance effectively captures her fear and agony. There are creative lighting techniques and the sound effects are quite effective in creating feelings of dread, especially during the scenes with darkness. Things get a bit surreal during a montage sequence that involves the heroine, wine and a facial mask and the upside-down angle technique is applied a couple of times, although it is unclear what effect it is supposed to have. Teixeira and Carvalho also worked on the music and the result is a frightening atmosphere. This award-winning horror film has a screenplay that leaves it to anyone's guess whether Lindsay is dealing with supernatural forces or whether someone is playing tricks on her. Overall, this is a creepy story that will most likely chill the viewer to the marrow. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

A Dishonourable Death: at Twenty-Seven Minutes Past Six film review by UK film critic Jason Knight. Starring Christos Lawton, David Fulton, Roger Thomson, Claire Rafferty directed by BLOK. HOME | FILMS | REVIEWS A Dishonourable Death: at Twenty-Seven Minutes Past Six Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Mar 5, 2023 Directed by: BLOK Written by: BLOK Starring: Christos Lawton, David Fulton, Roger Thomson, Claire Rafferty A duel is taking place in 19th century England. The location is Aylesbury, the year is 1837 and a carriage is traveling in the countryside. Inside are two gentlemen, George (Lawton) and Thompson (Fulton). They are on their way to meet a Chinese man for a duel between him and George. George believes that the Chinese man insulted his wife and he wants to get even. However, when they arrive at the arranged location, instead of the Chinaman, they encounter a family of travellers, consisting of Seamus (Thomson), his wife Catherine (Rafferty) and their young daughter. Things quickly get complicated and out of hand, resulting in terrible consequences. From start to finish, this short dark comedy drama never ceases to impress, whether it is thanks to the entertaining and well-written dialogue, the terrific performances, the impressive mise-en-scene or the wonderful score. Regarding the screenplay, the story is comical and kind of dark. Beginning with a quote by acclaimed English writer Samuel Johnson, the film then moves on to its rather sinister narrative involving revenge, murder, racism, social class conflict and...a special cane. There is plenty of dark humour, clever dialogue and some rather shocking and dramatic moments. The outstanding cinematography BLOK is one of the best aspects of the film. There is a fun sequence where the film turns into an advert about a multi-purpose cane, which utilises creative cinematography, making the image look scratched and damaged. This sequence stands out significantly due to the creativity and Fulton's performance. The characters are eccentric and all cast deliver dynamic and entertaining performances. Lawton's character is the main one, more of an anti-hero actually and he is an angry man determined to seek justice for his reputation. The mise-en-scene is another area where this film succeeds immensely and this is thanks to Aartthie Mahakuperan. The costumes, carriage and pistols look genuine and effectively bring the viewer back to that time period. Composer Pete Blyth is another person who makes a superb contribution. The music is rather creative and creates a sort of comedic and extraordinary atmosphere. The film is separated into chapters, each of which begins with a title card that contains the chapter's number and a quote by one of the characters. The title cards are also accompanied by the sound of a large bell and the ticking of a clock and praise also goes to these sound effects. This short is approximately ten minutes long, yet thanks to creativity and massive effort, it has the production value of a mainstream feature. Directing duo BLOK have made an enjoyable and dark film that offers a memorable experience and it is exciting to think about what they will achieve in the future. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Country of Blind film review by UK film critic Jason Knight. Starring Shoib Nikash Shah, Hina Khan, Pradhuman Singh, Inaamulhaq, Namita Lal directed by Rahhat Shah Kazmi. HOME | FILMS | REVIEWS Country of Blind Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 22, 2023 Directed by: Rahhat Shah Kazmi Written by: Rahhat Shah Kazmi Starring: Shoib Nikash Shah, Hina Khan, Pradhuman Singh, Inaamulhaq, Namita Lal A man stumbles upon a lost village inhabited by blind people. In the 18th century, during a mountaineering expedition in the Himalayas, a young man (Shah) is separated from his group when he falls down a mountain. After wondering through uncharted nature, he eventually discovers a small village in a valley where all the residents are blind. The villagers capture the man and name him India after he tells them that is where he is from. The villagers are actually good and accept the new stranger into their community. Although initially India longs to leave the village, he begins to embrace their way of life and becomes romantically involved with a young woman named Gosha (Khan). However, India's behaviour will bring trouble. Based on H.G. Wells' short story The Country of the Blind , one thing this feature from India has going for it is the intriguing plot: a small community isolated and unknown to the rest of the world, where everyone has been born blind for centuries and have created a peaceful way of living that allows them to enjoy life to the fullest and without the need to see. The villagers can hunt for food, do farming work and utilise ropes and footpaths made out of stones in order to get around. They are organised, with their own celebrations and the one with the highest authority is called The King. They believe that the place they are living in is the entire world and are unaware that there is such a thing as seeing. They are happy with what they have and only want what they need. They are a community that has been forgotten by time, with houses made out of materials provided by nature and clothing that consists of hides. The story focuses on India as he becomes familiar with this extraordinary place and romances Gosha. Although he finds happiness with her, he tries to tell everyone, including The King (Singh) about the world beyond theirs, however they do not believe him. His frustration with their stubbornness creates a lot of waves, especially with Paras (Inaamulhaq), an unfriendly man and one of the village's protectors. Shah's character is a protagonist who means well, yet whose presence only appears to be polluting the villagers' way of life, bringing conflict and fear, as he is torn between his love for Gosha and his desire to return to his world. Gosha is a gentle woman whose character represents the good and blissfulness that governs her peace-loving village. The opening montage deserves a lot of praise due to its creativity and the mise-en-scene mentioned above is impressive, with costumes by Zeba Sajid. Kazmi directs very well, creating some wonderful shots of landsapes that are supported by the cinematography of Luxmi Chand (Pinku). Regarding the audio, Saptrishi Ghosh provides the narration and the music is dynamic, entertaining and romantic and there are some beautiful songs that add value, especially during the romantic scenes between India and Gosha. This is an interesting period adventure film that is also a romance, a fish-out-of-water story and a journey of self-discovery. It centres around a place hidden from the world, where life is happy and simple. The main messages appear to be that it is the simple things in life that matter and that some things should remain unchanged. About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Splitsville film review by UK film critic Jack Salvadori. Starring Michael Angelo Covino, Kyle Marvin, Dakota Johnson directed by Michael Angelo Covino. HOME | FILMS | REVIEWS Splitsville Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: May 20, 2025 Directed by: Michael Angelo Covino Written by: Michael Angelo Covino, Kyle Marvin Starring: Michael Angelo Covino, Kyle Marvin, Dakota Johnson “It’s better than The Climb . 100%, no doubt,” declares Michael Angelo Covino, the Mediterranean glittering behind him as he munches McDonald’s fries the night before Splitsville ’s premiere. Then, just a beat later, he turns to his crew—“It’s better, right?”—his voice suddenly less certain. Could it really be better than The Climb , his breakout debut that made waves in Un Certain Regard back in 2019? Now he was back in Cannes, facing the dreaded Second Feature Test: was he a one-hit wonder? Enter Kyle Marvin - best friend, co-writer, co-star, looking equally excited and happy. Together, they huddle over to check the screener one last time, just hours before it would light up the Debussy Theatre, like students cramming for finals. I don’t think they slept much that night. And yet, hours later, the answer rang clear: Splitsville had the entire Cannes audience in stitches. This is a triumph of modest ambition: a romantic comedy about open marriages, modern masculinity, guilt, jealousy, and the tangled mess of human connection. It doesn’t try to reinvent the wheel, it just makes it spin faster and funnier. Covino and Marvin have eloped with their own style and now, at last, they’ve settled down with it. Gone are the one-shot flexes of The Climb ; instead, we get crisp, confident storytelling, with a rhythm and comedic timing so sharp it could cut glass. Once again, they play their signature roles: Kyle, the earnest, overly generous man you’d trust to water your plants while you’re away; Mike, the selfish, obnoxious hurricane who would absolutely forget them. It’s familiar territory, but they’ve grown, both as characters and filmmakers. The chaos is still there, but now it’s delivered with more confidence, through a carousel of inventive set-pieces that never stop to surprise and amuse. And yet, what makes Splitsville truly sing isn’t just the laughs—it’s the emotional sophistication humming beneath it all. It’s a film about how people flail and fumble toward connection, how we rationalise—and sometimes sabotage—our own happiness. That Splitsville manages to explore all this while being constantly, properly funny is a small miracle. Dakota Johnson and Adria Arjona bring sharpness and sparkle to the ensemble, but make no mistake: this is Covino and Marvin’s show. They’ve carved out a comedic tone that’s all their own: warm, self-aware, messy, emotionally grounded. It’s commercial enough to to make your grandad laugh and sly enough to make a critic nod in grudging approval. It’s not just funnier than The Climb , it’s deeper, more emotionally agile, and more confident in its comedic muscle. The jokes aren’t just in the dialogue—they’re baked into the rhythm of the edit, the sound design, the awkward silences and off-screen glances. You’re glued to the screen not because the stakes are high, but because it feels so good to be in the company of these characters, even when they’re at their worst. Especially when they’re at their worst. Splitsville doesn’t ask for much—it just wants to make you laugh. But by the time the credits roll, it’s done far more than that. It’s tender without being saccharine, sophisticated without being smug, and funny without ever feeling effortful. It deserved a slot in Official Competition, honestly. But that night on the Croisette, Covino and Marvin were just two best friends, pacing the beach, nerves jangling, screeners glitching, fries going cold. A few hours later, their film would light up the Debussy and leave the room roaring. If a movie can make you feel that happy in the least glamorous moment of the most glamorous festival in the world, it’s already a classic. And I have the feeling they’re only just getting started. About the Film Critic Jack Salvadori Theatrical Release, Film Festival < All Reviews Next Film Review >

The Young Mozart film review by UK film critic Matt Trapp. Starring Nazanin Yousefi, Pardis Shiravani directed by Ali Moazen. HOME | FILMS | REVIEWS The Young Mozart Film Review average rating is 4 out of 5 Critic: Matt Trapp | Posted on: Nov 18, 2025 Directed by: Ali Moazen Written by: Ali Moazen, Peyman Ezzati Starring: Nazanin Yousefi, Pardis Shiravani The Young Mozart can best be summed up as a duel, fought not with pistols but with words soaked in venom. Directed by Ali Moazen, this short is a confident and tense experience, and rich in thematic depth. The film stars Nazanin Yousefi and Pardis Shiravani as the mother and piano teacher of Jorge, a 13 year old boy who has suddenly been pulled from his lessons and will return to his home in Spain. The resulting drama that unfolds from this final confrontation between two women reveals that there is much more at stake for Jorge beyond missing a piano lesson. Mozen’s film is theatrical in its construction, thanks to the dialogue-heavy script and simple set design. The focus of The Young Mozart is undoubtedly on the words that the women are speaking, and their battle of wills over the fate of a 13 year old boy. They both hold opposite viewpoints on how they exert their power over Jorge; while his mother has carefully planned out his career and generally holds a tight leash, the piano teacher indulges him, concealing information from his mother and reveling in the secrets that she holds. The costume design reinforces the strict dichotomy between the women – Jorge’s mother dresses in a traditional, black outfit, while his piano teacher is dressed entirely in white, in more modern clothing. Despite their opposition to each other, they both wear similar looking headscarves, hinting that while they appear to be mirror opposites of each other, they may share some similarities in their goals with Jorge. Power seems to be at the center of The Young Mozart, and the film navigates themes of choice and control with precision. Undoubtedly, the most important part of The Young Mozart is the language, which is why it’s a shame that the English language subtitles could have been improved. It doesn’t necessarily detract from the film, but it’s worth mentioning that some English speaking audiences may have a more difficult time with understanding the dialogue. The Young Mozart mostly delivers in the drama it promises, but audiences may feel that there could have been a more exciting climax. The ending may feel sudden to some, and possibly even tonally jarring. One additional complicating factor could have elevated the film further, and given the end more of the punch that Moazen was aiming for. Mozen’s short delivers some excellent drama and the cast should be commended for their performances. Despite the short run time, there’s a depth and complexity in the film that will keep audiences engaged in the story even beyond the credits. About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Cha Cha Real Smooth film review by UK film critic Hope Madden. Starring Cooper Raiff, Dakota Johnson, Vanessa Burghardt directed by Cooper Raiff. HOME | FILMS | REVIEWS Cha Cha Real Smooth Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jun 16, 2022 Directed by: Cooper Raiff Written by: Cooper Raiff Starring: Cooper Raiff, Dakota Johnson, Vanessa Burghardt Dakota Johnson is the unquestioned star of indie darling coming-of-age drama Cha Cha Real Smooth , but it’s writer/director/co-star Cooper Raiff who’s shining bright enough to blind you. The twentysomething filmmaker, fresh off his tender and insightful feature debut Sh*thouse , spins another yarn defined by vulnerability. Raiff plays Andrew, a recent college grad sleeping on a blow-up mattress in his little brother’s bedroom and working at Meat Sticks until he figures something else out. A surprising opportunity arises at a bat mitzvah he attends with his brother (Evan Assante). Andrew has a gift for making sure everyone has a great time—including lonely single mom Domino (Johnson) and her daughter Lola (Vanessa Burghardt). The other moms are so impressed, they all hire him to host their kids’ events. Sure, it pays, but it’s silly. Harmless. Pointless. How fun, and also tragic. It’s an apt metaphor for Andrew, who was so good at being young and is now a little lost. Gen X had Lloyd Dobbler. Gen Z has Andrew. Solid support from Leslie Mann and Brad Garrett offers Raiff opportunities to subvert tropes with surprising compassion. There are also more than enough laughs to balance the drama. Johnson’s greatest strength as a performer is the almost preternatural chemistry she shares with everyone else on screen. That connection with Raiff aches with human tenderness, as does the entire film. As an actor, Raiff’s performance is open — a strength his direction capitalizes on with long, breathing takes and intimate close-ups. The plot isn’t rushed or forced. Raiff’s writing weaves through complicated situations and emotions without the need to tidy up. The anxiety and pathos feel all the more honest because no one is safe from them. But the film empathizes thoroughly with its characters, applauding every brave and awkward act of intimacy. Cha Cha Real Smooth, which won Sundance’s dramatic competition this year, overflows with charm and warmth. More than that, it points to a remarkable cinematic voice that’s just getting started. About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

Hello in Here film review by UK film critic Patrick Foley. Starring Chynna Walker, Autumn Breaud, Annie Gill directed by Casey McAdams. HOME | FILMS | REVIEWS Hello in Here Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Apr 16, 2024 Directed by: Casey McAdams Written by: Casey McAdams Starring: Chynna Walker, Autumn Breaud, Annie Gill If Hello in Here is any indication, independent cinema is still very much in a ‘Covid’ era. This drama is set directly during the pandemic and addresses the familiarity we now all share with isolation, depression and monotony, and how inability to connect has far-reaching consequences that extend long after the lockdown is done. The story revolves around Kara (Chynna Walker) and her life alone during the initial months of the pandemic. Recently single and living alone, she’s convinced that solitude shouldn’t be a problem. But when she ends up furloughed, life becomes an endless cycle of coffee, home workouts, obscure foreign television and arguing with customer service representatives. The long spell alone leads to strange dreams that seem to have deeper meanings, as she contemplates her existence slowly falling apart. Hello in Here ’s biggest problem is that it is the latest in the line of self-reflective Covid films that have little to really say beyond the importance of community, communication, and how lockdown was really, really boring. Its portrayal of a young professional’s life becoming a droning routine of small distractions is competent enough, and the majority of its audience will be able to relate to Kara’s inexplicable sudden interest in Portuguese TV or Kafka-esque battle with her phone company. But in 2024, the film struggles to cover ground that has not been tread before, and in more interesting and innovative forms such as Bo Burnham’s Inside. That’s not to say there is nothing original here. The dream sequences are jarring in the most welcoming way, allowing writer-director Casey McAdams to inject some oddity that shocks viewers out of the stupor they begin to share with Kara. These colourful moments are spaced throughout the film and are used as important story beats. Whilst benefitting from their scarcity, the film would be more engaging and dynamic if a few more of these moments were present – though the flipside would be sacrificing the relatable pandemic recreation that the film captures. Chynna Walker’s performance matches the scale of the task placed upon her as the film’s central and solo figure. Walker brilliantly finds Kara as someone who lacks the time in her day to stop and take stock of what her life has become. But when outside events stop her from plowing through, her natural reaction turns against her and beaten-down stoicism is no longer enough to sustain her soul. Her pivotal confrontation with the latest faceless customer service advisor in pitch-black darkness is a touching and traumatic finale to the film that rides off of a sort of anti-momentum – as all the meaninglessness and lost time finale cause Kara to crack, with hopefully a reassessment of herself to follow. Hello in Here is a solid enough (if overlong) film that doesn’t quite achieve enough to stand out in what is now a pandemic of pandemic films that all have familiar messages to say. The experimental elements allow it to stand out a little, and there will be viewers for whom Kara’s life speaks to more personably. But in the same way that regular life did, perhaps its time for indie cinema to move on from the pandemic. About the Film Critic Patrick Foley Digital / DVD Release, Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Gaza: A Story of Love and War film review by UK film critic Matt Trapp. Starring Mike Joseph, Sami Abu Salem directed by Mike Joseph. HOME | FILMS | REVIEWS Gaza: A Story of Love and War Film Review average rating is 4 out of 5 Critic: Matt Trapp | Posted on: Oct 7, 2025 Directed by: Mike Joseph Written by: Mike Joseph Starring: Mike Joseph, Sami Abu Salem The unfolding genocide in Gaza has been a challenging narrative to unpick since October 7 2023. In the two years since then, the UK government has proscribed Palestine Action, a direct action group with the stated goal of ending Israel's apartheid regime, a terrorist group. Over 1500 people are reported as having been arrested by the Metropolitan Police for peacefully protesting an end to the genocide. For those living in the United Kingdom, the media and government have continued to obscure the true scale of the destruction Israel has levelled against thousands of innocent Palestinians in their campaign of cruelty. Welsh reporter Mike Joseph cuts through the noise in his documentary ‘Gaza: A Story of Love and War’ , a deeply empathetic portrayal of human connection in a time of hopelessness, providing some dignity for a people systematically stripped of it. Mike Joseph opens the film with images of the Gaza–Israel barrier while narrating an adaptation of Niemöller’s poem ‘First They Came’. Immediately, Joseph is linking the Holocaust with the Gaza genocide, a striking and assertive statement to begin with. The documentary serves as an excellent introduction to the history of the region, as Joseph explains how the state of Israel came to be following the Second World War, and how it has expanded outward in the years since. He’s a trustworthy narrator and a confident authority on the subject; the reveal that Joseph’s grandfather was a victim of the Holocaust in 1941 gives the film a personal quality that will carry throughout. The majority of the documentary’s runtime is an online conversation between Joseph and Sami Abu Salem, a Palestinian journalist, via Zoom. The two men share a tender connection, both united in the terrible suffering that their families were historically subjected to. In a poignant segment of the film, Salem speaks of his mother’s village Burayr which her family was driven out of in 1948 when she was only 10 years old, and was subsequently destroyed by Israeli forces. Joseph listens with understanding, the two sharing in the experience of their parents fleeing their respective homelands. Although the film features the two men connecting with each other, it must be noted that it feels like one arm reaching into the darkness to grasp at fingers. That is to say, there is a sense of distance in Joseph’s reporting of Gaza. Unfortunately for the filmmakers, the footage shot in Salem’s home in Jabaliya has been lost in the conflict, meaning that the camera in the interview segments of the film is purely from Joseph’s point of view. Furthermore, there is a lack of video material from Gaza for most of the film. Over the past year, there have been at least two documentaries lauded for their blistering documentation of the genocide from within Gaza itself: Oscar winner ‘No Other Land’ and Louis Theroux’s ‘The Settlers’ . While ‘Gaza: A Story of Love and War’ does succeed in centering Palestinian voices, one wonders if the film could have featured other first hand reports throughout. Significantly, the final minutes of the film are perhaps the most emotionally affecting, as Joseph makes space for Salem’s own video reporting. In his footage, a young Palestinian girl amidst the chaos dreams of a future studying business, a future that has been snatched away from her. It’s a deeply moving section of the film, and it would have been powerful to see more footage of a similar nature integrated into the rest of the documentary. Joseph lands on a crucial thesis of the film: is coexistence possible? Salem’s response is that yes, it is possible, but only if Palestinians are afforded dignity by fair media representation. This is perhaps the greatest endorsement of ‘Gaza: A Story of Love and War’. The film may lack the punch of some more recent documentaries that turn the camera lens directly towards the brutality of Israel’s imperialist goals, but it succeeds in giving Palestinians a voice in the form of Sami Abu Salem, a dignified and responsible representative of his people. About the Film Critic Matt Trapp Documentary < All Reviews Next Film Review >

Scar film review by UK film critic Joe Beck. Starring Casey Landman, Travis Mitchell directed by Alison Hale. HOME | FILMS | REVIEWS Scar Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Aug 30, 2022 Directed by: Alison Hale Written by: Alison Hale Starring: Casey Landman, Travis Mitchell I always find it difficult to write about a film that is deeply personal to its creator and tells a story of things which I, fortunately, can scarcely imagine. That task is made infinitely easier when dealing with a film so tender and heartfelt as ‘Scar’, a beautifully moving tale of a seventeen-year-old girl who is diagnosed with cancer. Writer and director Alison Hale, herself a cancer survivor, has utilised that difficult experience to create a truly magnificent film, which will leave anyone an emotional wreck. The fact that Hale understands the hardships of cancer, both the well-known struggles and the little things which most people don’t think about, means that ‘Scar’ is a film with heart, grace, and care for it’s subject matter. It’s a film which, under the helm of a different director, could have easily come across as emotionally manipulative, but Hale gives every shot a tender glow - the kind which will bring you tears, and remind you that there’s always hope. It doesn’t always feel that way, however, especially for Scarlett (the wonderful Casey Landman), as she goes through the rigorous process of chemotherapy in order to become cancer free. A sweet girl, full of life and boundless energy as she stops off to get pizza, is reduced to sleepily slumping on the sofa, such is the effect on her. Though Scarlett tries to remain positive in front of her overwhelmingly supportive friends (seriously - she has some legendary friends), the smile slips away as the seemingly endless procedure rolls on and on. 

 Her father (Travis Mitchell), like Scarlett, is clearly still reeling from the loss of her mother to cancer years ago and is stricken with fear that he might lose his daughter to the same fate. He’s out of his depth and sick with worry, perhaps a little too overbearing whereas Scarlett just wants to be treated as she was before. Still, he’s there for her, and she’s there for him - it's a fight which they must overcome together. One of the best aspects of ‘Scar’ is how it shows the breakdown of that feeling of invincibility which all teenagers should possess, and how cancer takes that away from Scarlett. She should be living her life, dreaming of a bright, happy future, but instead, she’s faced with the very real possibility of death and is forced to confront her own mortality. Much of this is only possible due to the magnificently engaging performance of Casey Landman, also a cancer survivor, who puts all the feelings of anguish and sorrow from her own past into a display which grabs you by the hand from minute one and refuses to let go. It is a tour de force performance, wonderfully emotional, tender, and sometimes funny - Casey Landman you are a star. ‘Scar’ is a glorious example of a group of people channelling their pasts into a personal story full of care for its subject matter. Every aspect - the cinematography, the score, the soundtrack, the script, the direction, the acting - works in tandem to form a film which could bring the hardest of hearts to tears. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Router film review by UK film critic Swati Verma . Starring Britt Vicars directed by Ryan Spahn. HOME | FILMS | REVIEWS Router Film Review average rating is 2 out of 5 Critic: Swati Verma | Posted on: Apr 10, 2023 Directed by: Ryan Spahn Written by: Ryan Spahn Starring: Britt Vicars The writer-director Ryan Spahn attempts to combine modern-day technology with the thriller as well as horror genres to build an intriguing script and a well-written character arc for the female protagonist Jeanine (Britt Vicars) to increase the degree of audience engagement with the content even when Router has a short running time. The plot of the short film revolves around Jeanine who discovers a disturbing hidden signal listed on her neighbour’s router when the internet goes down, she notices a message that would get everyone in trouble. The film opens with a series of long shots and mid shots to track the daily routine of the young woman to get the viewers involved with the movie from the very beginning. The white, black, and brown colours, set design, dim lighting, camera angles, background music, eerie sound effects along with loud thuds of the door, dialogues, costume, hair, makeup, and props are utilised to establish the gloomy perspective to evoke tension, creepiness, anxiety, stress, mystery, thrill, and suspense in the minds of the viewers. Router gets to the business of storytelling and adds the element of realism and the audience can see it as a slice of life when it comes to day-to-day experiences. In terms of performance, Britt Vicars plays Jeanine who is a tech-savvy girl and is usually busy with her usual work routine but finds something fishy and acts accordingly. Vicars portrays a casual body language initially then quickly switches to a more alert version with the help of phone conversations as per the demand of the screenplay. The actress efficiently maintains the mood of the movie through her facial expressions, eyes, voice modulations, and occasional gasps. Router talks about being aware of one’s surroundings and becoming a responsible citizen and reporting something suspicious helping the police even if it is at a very small level. The short film reiterates the need of creating a comfort zone but at the same time, one has to be brave enough to deal with any emergencies while taking care of their safety. The cinematic piece spreads awareness about the pros and cons of using technology and what can the outcome be if one does not use it carefully. I want to appreciate the open-ended closure given to the film by Spahn and his team allowing the audience to understand and interpret it as they want to. I also like that an abrupt ending provides an opportunity to the audience to keep thinking about the short film even after finishing the same. In my opinion, the length of the movie should have been a little longer for the viewers to develop an emotional connection with the female protagonist as well as explore the integration of thrill and horror elements in the subject matter the film deals with. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >